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I would also strongly recommend the Casorti bowing technique book, i found it excellent, although i dont think many people have heard of it for some reason....well worth using Hi Buri. Very thoughtful article - as always. My approach to daily bowing excersises mainly involves combining scales with a myriad of bowing techniques. I focus on mainly one key per day. At the end of my session I go to a simple tonic chord in my 'key du jour' and play a variety of mixed bowings with string crossings. There are 4 exceptions to this. On days when I focus on A flat and E flat, I too, like to go to the Casorti with a number of mixed bowing variations. On those days when my key is E or A, I take the famous string crossing passages in the Bach E major prelude, and again repeat the passages with a variety of mixed bowings.

Once in a great while I do the following additional study to re-explore the bow's important role in tone and expression: There are several Rode caprices, as well as the entire first Kreutzer and 2nd Kayser, that have slow introductions. It is helpful to choose one of these, and try to play it without any vibrato. Observe every dynamic and expression mark, and try to make it sound as nice and interesting as possible with the bow, alone.

I have found the Dont opus 37 studies to be of immeasurable value in regard to bowing. The students with whom I have worked these (and they are hard!--bothing "Preparatory to Kreutzer" about them!)are the most well founded violinists from my class.

Also, Gavinies may be seen to be quite effective if used for this purpose.

Thank you for this helpful post. I'm working through the Wohlfart etudes now. I'm very aware of my right-arm technique these days. No Fiorillo? Greetings,
Raphael, thanks for making that point. You highliughted the major omission in my original comments: that more advanced player sand profesisonals seeking the most efficient use of time use -scales- combined with bowings. Flesch was the obvious precursor and then Galamian. The interesting question (with no answer perhaps) is when or to what extent does one train a beginner with etudes or scales for daily bowing exercises?
David, Dont opus 37 is an absolute gem of a book. I have no idea why it is said to be pre Kreutzer either. I know Galamina used it a lot. Its mentioned a great deal in the back of his book on tehcnique.As for the opus 35 the I don@t know if you`ve sene it, but the Gingold Masterclass DVD sees a young Eretz put though his paces with some brilliant variations. All linked to the repertoire so the student know exatcly why they are working on something.
Anne, agree about the Fiorillo. I worked through the whole book in my firts year at college and have forgotyten it compltely. Must be the alcohol. I think the best study in that book perosnally, is the one near the end that has three string crossing with lots of variaions. That is a veyr valuable substitute for Kreutzer thirteen when a chnage is needed. Fiorillo is hard. Good stuff.
For good detache at speed I think Rode no 2 and 3 are especially good. one thing I really like about the Rode are the slow introductions. If one can play those perfect;ly rather than just a quick glance before getitng down to the fast stuff tbow control is improved immesurably. I always find a powerful conncetion between these little slow gems and the slow movements of Haydn quartets for some reason.
Cheers,
Buri Hi Buri,

So far I’ve done one Dancla study, several Mazas, and am doing one Rode now. That is the extent of my technical studies. Out of the 3, I really enjoyed Dancla. Should a student learn all the etudes/carprice/studies in a book before going to the next or alternate or do one from each at one time?

Would it be a good idea to sit down with the teacher and work out exactly what to practise/learn for the whole year or just decide as it comes along?

Going back to bending the right thumb… it is starting to hurt again. What did I do wrong???

Greetings,
>So far I致e done one Dancla study, several Mazas, and am doing one Rode now.
Whic Dancla are you referring to by the way? I din`t put the opus number and there are a few volumes of various levels.

That is the extent of my technical studies. Out of the 3, I really enjoyed Dancla. Should a student learn all the etudes/carprice/studies in a book before going to the next or alternate or do one from each at one time?

Alterntaing doesn`t really make any difference. It is a question of what you need. There is also a differnece, I think between a young imitative monkey and a more mature player. Sometimes the latter does not even need ot do the whole study. One might just do a cople of lines to get the benifit and then maybe improvise a little on what wa selarnt and then move on. Mazas is much more difficult than people think. The fatc that we tend to talk of levels in a linear fashion creates a kind of belive that Dont is harder than Kreutzer is harde rthan Mazas etc. Although true to some extent it is never so clear cut and it is quite possible that one has a specific probelm that could just as well be resolved inMazas as anywhere else. The Artist studies are hard, too!
The only book I really think one should do everythign in is Kreiutzerby the way.

>Would it be a good idea to sit down with the teacher and work out exactly what to practise/learn for the whole year or just decide as it comes along?

Both. The etude soyu choose to study relkate to your currnet percived weaknesses and problems that crop up in reperoire. It is not thta easy to anticpate how things will go.Thats why it is best to keep the discussion going with your teacher.

>Going back to bending the right thumb・it is starting to hurt again. What did I do wrong??? [EDIT]
Where is the pain?
Bad thumb leather?
Are you studyig a lot of martele?
Have you tried holding the bow like a cello bow and learning the sensation of keeping the hand flatter? (You can@t play at the point well this way...)
Would work on colle help? Small marteleish notes near the heel using finger only paying careful attention to a very relaxed thumb.
Cheers,
Buri